October 2007 Archives

Town Hall's Broadway Cabaret Festival, which begins tonight and runs through Sunday, will present the first gala honoring composer Stephen Schwartz tonight at 8, follow that with a Betty Buckley concert and follow that by bringing back to the stage stars in their original Broadway musical roles. WOW! Who could ask for anything more? The Fest is created by the indefatigable Scott Siegel, who will write and host each of the programs. Larry Zucker is Town Hall executive director.

Do you think there'll be any "unplugged" moments in the series? Is Town Hall on West 43rd Street?

Saluting Schwarz tonight are Karen Akers, singing "Chanson"; Liz Callaway, performing "Meadowlark"; the indomitable Jason Graae, in a unique rendition of "Popular"; Max Von Essen, "Proud Lady"; and Lari White, "Blame It On the Summer Night." Golden-voiced recording artist and cabaret star Jane Olivor will make a rare appearance. Scott Coulter, who will perform a medley of "Corner of the Sky" and Right Around the River Bend," directs. Alex Rybeck is musical director.

Siegel has planned the Schwartz tribute for over a year, but Schwarz always had scheduling. "But," says Siegel, "he'll be at Town Hall tonight and will perform. It will be an unforgettable, emotional, evening."

Schwartz shows include The Baker's Wife; Children Of Eden; Godspell, soon to be revived; Mass with Leonard Bernstein; Pippin; Rags; Working, which he adapted and directed; the current Broadway smash Wicked; and, most recently, a Danish musical about Hans Christian Andersen.

The Festival centerpiece is Saturday at 8 P.M. with An Evening with Betty Buckley, with the dynamic dive, one of Broadway's most beloved Tony winners, front and center. Richard Jay Alexander is director, with Kenny Werner musical directing.

The concert has great timing, as Masterworks Broadway/Playbill Records just released Betty Buckley 1967 [SRP, $14], which she produced and which would have been her debut album if it had been released. This is a real keeper with 11 tracks, including "C'est Magnifique," "My Funny Valentine," "They Were You" and "When I Fall in Love." Recorded 40 years ago in Buckley's home town, Fort Worth, when she was 19, it's been digitally remastered from original reel-to-reel tapes. It was a long time ago, but when you get the CD, you'll be excused if you wonder who that is on the cover and on back. Ms. B's in a hippie mood in a mini;
and what about that hairdo?

Town Hall's BCF culminates Sunday at 3 P.M. with Broadway Originals which recaptures the magic of hearing original cast members from their musicals. The program will pay tribute to three-time Oscar-nominee [and a winner for Gentleman's Agreement] Celeste Holm, who was Ado Annie in the landmark production of Oklahoma!, in celebration of her 90th birthday.

It will be quite a show, with 20 stars [yes, 20! - can you believe? Believe!] recreating the songs they performed in Broadway original casts. They include Tony nominee Alan Campbell, Sunset Boulevard; Donna Lynne Champlin, Sweeney Todd; Drama Desk winner Joan Copeland, Two by Two; Tony and DD nominee AndrÈ de Shields, The Wiz; DD-nominee Jerry Dixon, Once On This Island; Tony nominee Willy Falk, Miss Saigon; Tony nominee Anita Gillette, Mr. President; Tony and DD winner George S. Irving, Gentlemen Prefer Blondes, currently celebrating over a half century onstage; DD winner Ken Jennings, Sweeney Todd; DD nominee Karen Mason. Mamma Mia!; Tony nominee Jill O'Hara, Promises, Promises; Tony nominee Brad Oscar, The Producers; Tony nominee and DD winner Martin Vidnovic, Brigadoon; and Tony and DD nominee Barbara Walsh, Big. Dan Foster directs, with Fred Barton musical directing.

Tickets are $50 per show and available through TicketMaster, (212) 307-4100, at http://www.ticketmaster.com/ and at the Town Hall box office.


Sidebar


Recording artist and Los Angeles Drama Critics Circle, New York Nightlife and Bistro Award-winner Jason Graee returns to New York for the Broadway Cabaret Festival and to Birdland Sunday and Monday at 7 P.M. with his all-new Graae's Anatomy.

Graae's twisted and humorous take on songs will be put to good use on songs Sondheim, Mercer and others.

His Broadway credits include A Grand Night For Singing, Falsettos, Stardust, Snoopy! and Do Black Patent Leather Shoes Really Reflect Up? and Off Broadway's Forever Plaid and Hello Muddah, Hello Faddah, for which he received an Outstanding Actor, Musical DD nom.


There's a $25 cover, and $10 food/drink minimum. To reserve, call Birdland, (212) 581-3080, or visit http://www.birdland.com/.

Sidebar 2 The Baker's Wife, with book by Fiddler's Joseph Stein, is the York Theatre Company's final Fall 2007 Musicals in Mufti presentation on October 26, 27 and 28 at the Theatre at Saint Peters [54th Street, east of Lexington Avenue]. Max von Essen [repeating the role he created in the acclaimed Paper Mill Playhouse production] and RenÈe Elise Goldsberry headline. Tickets are $35 and available by calling (212) 935-5820 or at http://www.yorktheatre.org/.


Still Going Strong

Hollywood legend Tony Martin, still going and still suave at 95 and still married to MGM musicals legend Cyd Charisse, will make his triumphant return to the New York club scene for the first time since playing the Copacabana over 30 years ago. This Sunday and Monday at 8:30, he's appearing at the ultra chic Feinstein's at Loews Regency. Between songs, which surely will include his hits "Begin the Beguine" and "There's No Tomorrow," he'll banter about performing alongside Astaire, Garland, Hayworth, Rogers, Lana and, of course, Miss Charisse, who will be present to root him on.

The cover charge is $40 with a two-drink minimum. Jackets, suggested; not required. To book, call (212) 339-4095 or visit Ticketweb.com or feinsteinsattheregency.com.

Tammy Tells It True

It's a hot October at the Metropolitan Room at Gotham [34 West 22nd Street, between Fifth and Sixth Avenues] and going to be a hot November. For four return performances, October 24-27 at 7:30, there's the rare opt to see the unsinkable two-time Tony-winner Tammy Grimes in concert and as raconteur [reservations strongly recommended]; and Saturdays at 10 from October 27-November 17.

Coming in November are Marilyn Maye returns with Super Singer, her tribute to the loyalty of Johnny Carson and the Tonight Show; the incredible Christine Pedi of Forbidden Broadway fame salutes Broadway's Great Dames; and, making her solo cabaret debut, Liz Callaway with Between Flights.

Cover charges vary between $20 and $35, with a two-drink minimum. For reservations, call (212) 206-0440 or visit http://www.metropolitanroom.com/



Career Transitions Rocks

October 29 at 7:00 pm at City Center is the annual event dance aficionados look forward to. This year's 22nd Anniversary Career Transition For Dancers' gala will be a rockin' affair. The theme for Dance Rocks: An Electrifying Evening Of Entertainment is "dance set to music through the decades, from the 50's to hip hop."

There will be honors, too. Tommy Tune will present the Rolex Dance Award to Bebe Neuwirth. Anka Palitz and the Jerome Robbins Foundation will receive CTFD's Outstanding Contributions to the World of Dance Award.

Musical numbers will range from classical to James Brown and hip hop. Besides Tune, Charlotte d'Amboise, Christine Ebersole and Benji Schwimmer [winner of TV's So You Think You Can Dance] will appear.

There'll be performances by artists from American Ballet Theatre, Atlanta Ballet, Ballet San Jose, Michael Cavanaugh, Dance Theatre of Harlem's Dancing Through Barriers Ensemble, Miguel Frasconi, the Joffrey Ballet, Tony and Drama Desk-winning choreographer/director Kathleen Marshall, Tony and Drama Desk-nominees Elizabeth Parkinson and John Selya [Movin' Out]; Mr. Wiggles; and, among a huge roster of artists, World Cup All Star New Jersey Cheerleading. Ann Marie DeAngelo is once again producing and directing

The opening number, Dance Rocks, and Stay with Me with music from Bette Midler are choreographed by DeAngelo. The roster of featured choreographers, some presenting world premieres created for the gala, include Dennis Nahat, Blue Suede Shoes with scenery and costumes by Bob Mackie and music from Elvis Presley; Peter Pucci, an excerpt from his section of Billboards by Prince; Tony and DD-nominated Lynn Taylor-Corbett has choreographed a number to a song performed live by recording legend Melissa Manchester; Twyla Tharp, with excerpts from ABT's Sinatra Suite, with costumes by Oscar de la Renta, and Movin' Out; and William Whitener, an excerpt from Change of Heart with music from Peggy Lee.

Gala honorary chair is Priscilla Presley. The 22nd Anniversary Chairs are Patricia J. Kennedy and RolexWatch USA president and CEO Allen Brill. Honorary chairs include former prima ballerina assoluta and CTFD board chair Cynthia Gregory, former Joffrey and ABT leading dancer and ABT artistic director Kevin McKenzie, film legend Jane Powell, Tony and Drama Desk winner Ann Reinking, dancer Ethan Stiefel, Mercedes Ellington and Tony and DD winner and former Rolex Dance Award honoree Chita Rivera. Alexander DubÈ is CTFD executive director.

Since 1985, Career Transition For Dancers, with offices in New York and Los Angeles, has helped over 3,500 professional dancers "identify their unique talents in preparation for establishing new careers when dance is no longer an option." CTFD has provided dancers in 47 states with career counseling and services at no cost and awarded millions in scholarships and grants. For more information, visit http://www.careertransition.org/.

Gala tickets, which include post-performance Anniversary supper, dancing and live auction at the Sheraton are $600 - $1,200. To purchase, call Marjorie Horne, McEvoy & Associates, (212) 228-7446 X. 33. Performance-only tickets are available for $45 - $130 at the City Center box office, by calling CityTix, (212) 581-1212 or online at www.nycitycenter.org.


Papal Plays

The Storm Theatre [145 West 46th Street, between Broadway and Sixth Avenue] continues its celebration of the theatrical work of the late Karol Wojtyla, better known to the world as Pope John Paul II, through November 18 with the second installment of the Karol Wojtyla Theatre Festival and the plays Job and Jeremiah.

The late pontiff spent his youth prior to the seminary in pursuit of a theater career. His chief interest was acting, but he wrote plays. His work grew out of his experiences with Mieczysaw Kotlarczk and Poland's Rhapsodic Theatre, which held performances in secret during the Nazi occupation. The group strived to create "theatre of imagination, a theatre of the inner self." Those qualities are at the core of the Wojtyla plays.

Tickets are $20 and available through SmartTix by calling (212) 868-4444 or online at http://www.smarttix.com/. For play schedules and more information, visit http://www.stormtheatre.com/.


Ready For Some Halloween?

Radio Theater is premiering a Halloween-season treat, the H.G. Wells Science Fiction Festival at 59E59 Theaters [59 East 59th Street, between Park and Madison Avenues]. Featured are stage adaptations of the visionary author's The Time Machine, The Invisible Man, The War of the Worlds and The Island of Dr. Moreau. Each has original music and sound effects.

October 27 and 28, in anticipation of Halloween, there will be a Wells marathon, with the the four adaptations performed each day.

Single tickets are $25, $17.50 for 59E59 members. Specials include two plays for $40; and four for $75. To purchase, call Ticket Central at (212) 279-4200 or go to www.ticketcentral.com. For schedule and more information, visit http://www.59e59.org/.


At the [Chinese] Opera

Highly-stylized Cantonese opera makes a rare appearance in New York stage November 2 with Warriors, Lovers, Ghosts - Leading Ladies of the Chinese Opera at the NYU's Skirball Center for the Performing Arts [566 LaGuardia Place at Washington Square South] at 7:30 P.M.. Leading singers, actors, and musicians from Hong Kong will offer a glimpse into the classic theatrical roles women performed in fully-staged excerpts from Dream of the Red Chamber, Peony Pavilion, Mulan and other tales.

Tickets are $30 and $50 and available Skirball box office, by calling (212) 279-4200 or at http://www.skirballcenter.org/.


Funny Girl

Carol Burnett, whether in frumpy shifts, drapery or Bob Mackie gowns, is one of our consummate theatrical clowns. PBS' award-winning American Masters salutes this unique comic icon on November 5 in a 90-minute special, Carol Burnett: A Woman of Character.


At the Movies, New to DVD
~ Ken Burns' The War

Ken Burns' new seven-part documentary series, as recently seen on PBS, The War, directed and produced by Burns and Lynn Novick, comes to DVD in a deluxe six-disc package [PBS Home Video; Paramount Home Entertainment; 15 hours; SRP $130]. The series was co-produced by Florentine Films and WETA, Washington, D.C.

It's a fascinating and often brutal exploration of WWII. Told from the perspective of the men and women "who get caught up in the greatest cataclysm in human history," war is hell and Burns has found footage that comes close to putting the viewer there.

Horror and warfare footage aside, what makes this seven-part series that was six years in the making so valuable a document are the vivid personal accounts of 40 folks from four quintessentially American but geographically different communities, North South, Midwest and West: Waterbury, Connecticut; Mobile, Alabama; Sacramento, California; and the farming town of Luverne, Minnesota.

The cities represent a giant cross section of America and how our nation came together, united in one resolute purpose: Victory. The most intimate human experiences ordinary everymen from humble backgrounds demonstrates that in extraordinary times there are no ordinary lives.

"The Second World War was so massive, catastrophic and complex," said Emmy-winner Burns, the award-winning creator of The Civil War, Baseball and Jazz, "that it's almost beyond the mind's and the heart's capacity to process everything that happened - and, more important, what it meant on a human level."

The PBS series and DVD have a companion book, The War: An Intimate History, 1941-1945 [Alfred A. Knopf, 480 pages; Illustrated; SRP $50], compiled and written by Geoffrey C. Ward [The Civil War] with the Introduction by Burns Ward and Burns collaborated previously on the unexpected bestseller. The series soundtrack was released by Sony BMG Legacy Records.

The DVD box set bonus material includes a "making of" feature with interviews with Burns and others. The feature narrator is Keith David with "first-person" voices by Adam Arkin, Bobby Cannavale, Kevin Conway, Tom Hanks, Samuel L. Jackson, Josh Lucas, Carolyn McCormack, Robert Wahlberg and Eli Wallach.

~ Alexander and Troy Get the Kindest Cuts [the Directors']


Now in deluxe packages are two storied, multi-million dollar projects that went through a bit of turmoil in theatrical release and have been fully rethought by their directors: Alexander from Academy Award-winner Oliver Stone and Troy from Wolfgang Petersen.

Alexander is Stone's HD "final cut." The two-disc set, with the film in two acts with intermission, is loaded with 160 Minutes of extras, including an introduction by Stone, an interview with composer Vangelis and a doc by Sean Stone [the director's son], Fight Against Time: Oliver Stone's Alexander that has 85 minutes of behind-the-scenes footage and web-enabled features.


Colin Farrell stars in the title role with Rosario Dawson as his wife and Jared Leto as Hep[haistion], Alex's "fav"; and, in a bit of a stretch in the reality department, Angelina Jolie and Val Kilmer as Alexander's parents. Perfectly cast are Anthony Hopkins [Old Ptolemy], Jonathan Rhys Meyers and Christopher Plummer [none other than Aristotle].

Stones says this cut "takes a bolder, more in-depth look at Alexander's life and his relationships with his mother, lifelong friend and battle commander Hephaistion and his wife. It also intensifies the beauty and unbelievable brutality of Alexander's pre-Christian world of social customs and morals."

Petersen's director's cut of Troy, a very loose, raw adaptation of the Illiad, is an unrated edition not even seen in theatres. It boasts 30 minutes of new footage and numerous special features.

"In this new version," says Petersen, "the raw power of Homer, the sex, the brutality and the uncompromising battles really come to life. I went back to the way I first envisioned the film, when the full energy and impact of each scene had time to play out." He noted there are new or enhanced visuals, effects and sound design.

Oscar nominee Brad Pitt stars as Achilles, with Orlando Bloom and Diane Kruger are the Paris and Helen that cause the ruckus that follows. Co-starring are Oscar-nominee Peter O'Toole, eating every bit of scenery that's not real or nailed down, as King Priam, Eric Bana [Hector], Brian Cox [Agamemnon], a legion of armies and warship flotillas and a towering wooden Trojan horse.

Other than the half hour of expurgated footage, what makes the two-disc package interesting are the bonus features: Troy Revisited: An Introduction by Wolfgang Petersen; In The Thick of the Battle, about how Troy's epic battle sequences were created with thousands of [Mexican] warrior-extras dueling in the noon day sun; and From Ruins to Reality, which explores how the ruins of ancient Troy were unearthed and how the production design magicians created their version.

Pricing: Alexander [Warner Home Video, 2004; two discs, HD and Blu-ray; SRP, $29. Troy [WHV, 2004; two discs, SRP, regular DVD, $21; HD and Blu-ray, $35; Collector's Edition with photo book and pages from the script, $40].

For Something Greek and Roman to See If the current landmark exhibition The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art at the Met isn't enticement enough to get you there, you might want to pay a visit - after viewing the director cuts of Troy and Alexander.

You can get up close and personal with the history of those periods in the museum's awesome Greek and Roman Galleries, a spectacular "museum-within-the-museum" for one of the finest collections in the world of Hellenistic, Etruscan, South Italian and Roman art.

Five years in the making and on two floors, the galleries contain treasures unseen for generations. The galleries centerpiece is the Leon Levy and Shelby White Court - a monumental, peristyle court occupinges an area created by the architectural firm of McKim, Mead and White between 1912 and 1926 that evokes the garden of a Roman villa.

The Age of Rembrandt, running through January 6, displays the museum's 20 Rembrandts and its entire Dutch paintings collection - a breathtaking total of 228 works, as opposed to the 100 usually on view.

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The 45th New York Film Festival, presented by the Film Society of Lincoln Center is in full swing through October 14. In total, avid moviegoers who want to get an advance peek at films from A-List directors from around the world will have their choice of 28 choice, sometimes provocative and controversial feature films, documentaries and shorts. In NYFF tradition, there will be tributes and salutes, retrospectives honoring cinema mastercraftmen and photo exhibits.

This year's main venue is the stunning Frederick P. Rose Hall, home of Jazz at Lincoln Center [this year's main FF site due to Alice Tully Hall's reconstruction of] at Time-Warner Center overlooking Central Park.

The Coen brothers, Claude Chabrol, Todd Haynes, Sidney Lumet, Eric Rohmer, Julian Schnabel are among the notable directors whose works will be or has been presented. Wes Anderson's The Darjeeling Limited was last week's Opening Night selection.

The Closing Night selection [October 14, 8:30] is Persepolis, based on Marjane Satrapi's novel about her childhood in Iran during the Islamic Revolution, comes to life with Vincent Paronnaud's animation and through the voices of a cast led by France's gorgeous Catherine Deneuve and her daughter [with Marcello Mastroianni] Chiara Mastroianni [talk about beauty and acting genes, but here we only hear her voice]. The film is France's entry in the Oscar Foreign Film category and opens here Christmas day.

The Festival's Centerpiece film is No Country for Old Men [tomorrow at 9 P.M. and Sunday at 10 A.M.], a Cannes Film Fest Golden Palm nominee, from Joel and Ethan Coen stars Tommy Lee Jones, Javier Bardem and Josh Brolin; and, in featured roles, Woody Harrelson, Scottish actress Kelly Macdonald [playing a Texas trailer park wife], former E.R. and John from Cincinnati hunk Garret Dillahunt [The Assassination of Jesse James...], Tess Harper and, in a memorable cameo, Margaret Bowman, well-remembered for her turn as ole Hank's mama in Lost Highway. The story follows the mayhem after a hunter stumbles upon dead bodies, heroin and millions in cash down along the ole Rio Grande. Jones is top-billed but the film belongs to bad, bad boy Bardem and Brolin. NCFOM will soon be in theatres from Miramax/Paramount Vantage.

Sidney Lumet returns to NYFF for the first time in 33 years, with his all-star crime drama Before the Devil Knows You're Dead, [October 12 and 13 at, respectively, 6 and 12:45] with lead actors known also for their theater work: Philip Seymour Hoffman, Ethan Hawk, Albert Finney and Marisa Tomei; and some familiar stage names, Rosemary Harris, Br"an F. O'Byrne and Lee Wilkof. BTDKYD, about two brothers and a robbery that goes horribly wrong, opens October 26 from THINKFilms.

Screening tonight at Midnight and Sunday at 4:15 P.M. is Abel Ferrara's disjointed, soft-porn "screwball comedy" Go Go Tales, about a real estate struggle involving a disco and its inveterate gambler manager. It was shot on Ferrara's home turf, Roma, at the famed Cinecitta Studios [with producers Enrico Coletti and Massimo Cortesi daily sending money to keep the production afloat] but is set in NYC. The stars are William Defoe and Bob Hoskins; with Matthew Modine, Roy Dotrice and Asia Argento, featured. If you blink, you'll miss Burt Young in a cameo.

The dark, dark* comedy Margot at the Wedding [Sunday at 7 and Monday at 12:30] from Noah Baumbach [The Squid and the Whale, The Life Aquatic...] about contentious sisters thrown into a disastrous family weekend stars Nicole Kidman, Jennifer Jason Leigh [Mrs. Baumbach], Jack Black and Ciar·n Hinds. Black steals the picture. Paramount Vantage will release. *Baumbach's plan was to shoot as much as possible using available and he has dimly succeeded.

Brian De Palma is represented by the ultra-controversial Redacted [October 10 and 11, respectively, at 6 and 9 P.M.], a montage of stories about U.S. soldiers fighting in the Iraq conflict and how media covers the war]. Gus Van Sant's returns to the screen with a gutsy story of a skateboarder whose life is turned upside down, Paranoid Park [October 8 and 9, 3 and 9:15].

Todd Haynes' I'm Not There [tomorrow, 10 A.M.] stars Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere and Heath Leger as dueling Bob Dylans, embodying aspects of his life and work over two and a half hours [in general release soon from The Weinstein Company]; and John Landis documentary on octogenarian King of Mean comic is titled Mr. Warmth, The Don Rickles Project [October 13, 9:30 and Midnight]. Julian Schnabel's The Diving Bell and the Butterfly has debuted and will open here December 19 from Miramax.

An advantage of the NYFF is that you don't have to wait months to see selections with a buzz. The majority have distributors, ad campaigns and open, as did The Darjeeling Limited, almost immediately in New York theatres - or are set to be shown on HBO.

With more than half of the Film Fest's slate devoted to international titles, there's a strong recognition of the diversity of cinema voices. French director Claude Chabrol will have A Girl Cut in Two [October 12 and 13, respectively, at 9 and 6:30]. French films also include Hou Hsiao-hsien's Flight of the Red Balloon and Valeria Bruni Tedeschi's Actresses. From Chile, France and Belgium is Carmen Castillo's Calle Santa Fe.

Eric Rohmer's The Romance of Astree and Celadon debuted last week. Cristian Mungiu made his Festival debut this week with his provocative 4 Months, 3 Weeks and 2 Days, a hit at Cannes, winning the Palme d'Or.

The FF's retro on renowned Brazilian director and screenwriter Joaquim Pedro de Andrade continues through Tuesday, with screenings of his features and shorts at the Walter Reade. These include: The Brazilwood Man and his 1969 Macunaima, a landmark of Latino filmmaking, the story of a man born full grown and his road, through miracles and minefields, to the Big City [won Brazi's Best Actor and Supporting Actor "Oscars" for Grande Otelo and Jardel Filho].

There are ten shorts, all shown on and included with the feature bills; six screenings of new music documentaries, including Murray Lerner's The Other Side of the Mirror: Bob Dylan Live at the Newport Folk [a lot shorter at 80 minutes] and Peter Bogdanovich's four-hour Runnin' Down a Dream: Tom Petty and the Heartbreakers [yikes! - four hours! Yes, there's an intermission]; and the always much-anticipated festival within a festival, Views from the Avant-Garde, a mixed bag of experimental films.

In the arena of retrospectives, the Fest presented Ridley Scott's sci-fi smash Blade Runner: The Final Cut, celebrating its 25th Anniversary and which is currently playing.

American Express and the Film Foundation are presenting In Glorious Technicolor as part of the Preservation Screening Program, which afford viewers the rare opportunity to see remastered prints of John Ford's Drums Along the Mohawk [October 12, 6:30], released in 1939, the same year as Gone with the Wind, which used Technicolor's vivid three-strip color process [as did GWTW], and the shattering 1945 drama Leave Her to Heaven [October 12, 9 P.M.], directed by John Stahl, starring the gorgeous Gene Tierney and Cornel Wilde but most famous for its incredible cinematography by the renowned Leon Shamroy.

Leave Her to Heaven's plot could aptly be summed up: strangers meet on a train, tryst, fall in love, get married and then all hell breaks loose. It's a real nail-biter. Tierney, who won an Oscar nom for Best Actress, was never more beautiful or stunningly photographed [by the renowned Leon Shamroy, winning Oscar for cinematography] in vivid Technicolor. She was a reliable screen presence in that era and, today, is mostly forgotten. With the showing of LHTH, you can discover or rediscover her in all her elegant glory and see that she had acting chops to boot. Co-starring is screen hunk of the 40s, Cornel Wilde and Jeanne Crain, Vincent Price and Gene Lockhart.

Last Monday, ticketholders revisited John Ford's directorial debut, the filmed-on-magnificent- locations 1924 pre-talkie Western masterpiece [in which the building of the Union Pacific RR is delayed by Cheyenne seeking scalps] The Iron Horse, with accompaniment by full orchestra in Avery Fisher Hall.

In the way of upcoming historical screenings, there will be Josef von Sternberg's seamy 1927 Academy Award-winner Underworld with a new score by the Alloy Orchestra and Sven Gade and Heinz Schall's 1920 German production of Hamlet, starring Asta Nielsen.

The NYFF's selection committee is composed of Richard PeÒa, Film Society chairman and program director; Kent Jones, F. S associate programming director and Film Comment editor-at-large; Scott Foundas, film editor and L.A. Weekly critic, J. Hoberman, Village Voice critic and Visiting Harvard Lecturer; and Lisa Schwarzbaum, Entertainment Weekly critic.

For filmmakers and film students, HBO Films Directors Dialogues is a must experience. These are up close and personal conversations between filmmakers and FSOLC or NYFF programmers. The line-up: Wes Anderson [October 10, 7 P.M.], Todd Haynes [tomorrow, 4 P.M.] and Sidney Lumet [October 13, 4 P.M.], who'll be interviewed on his 50-years in film and TV by Film Comment's Gavin Smith.

On Saturday and Sunday, there's Views from the Avant-Garde, which this year brings together work by luminaries and emerging artists.

Next Wednesday [and through October 16] the Fest salutes Chinese Modern, with seven classics from the 50s and 60s from Cathay Studios, introduced by one of the era's most recognizable actresses, Grace Chang.

Tonight, New Line Cinema is being feted by the NYFF for 40 years of "extraordinary moviemaking" at a black-tie gala in Rose Hall that will include a sneak peek at the upcoming The Golden Compass. Proceeds go to the building of the Film Society's multi-venue, state-of-the-art Elinor Bunin-Munroe Film Center, scheduled to open in the new Lincoln Center in 2010.

The 45th New York Film Festival is sponsored by Sardinia Region Tourism and The New York Times with additional support from illy caffË; HBO Films; Maxell; the Hong Kong Economic and Trade Office; Kodak; and, among numerous other corporate angels, the New York State Council on the Arts.

Screenings are at Time Warner Center's Rose Hall as well as the Walter Reade, Stanley H. Kaplan Penthouse [in the Rose Building, next to the Walter Reade] and The [New York] Times Center [on West 41 Street and Eighth Avenue. Go to The New York Film Festival/Film Society of Lincoln Center web site www.filmlinc.com for a complete list of remaining events, specific venues and information.

Tickets [$16 and $20; Midnight screenings, $16; Closing Night, $20 and $40] can be purchased at the Rose Hall and Walter Reade box offices, online at filmlinc.com and by phone through CenterCharge, (212) 721-6500. Pending availability, $10 Student/Senior Rush tickets go on sale day of performance with valid and current ID required [one ticket per person]. There are standby lines at each venue.


Also at the Movies:

Michael Clayton: Taunt, Tight Thriller

Oscar winner George Clooney returns to cinema gravitas after the fun and practical jokes of the Ocean films in Tony Gilroy's taunt, tight contemporary thriller Michael Clayton. It's good to have the serious Cloon back in a film, as Syriana and Good Night and Good Luck was, he can be very proud of. This is a thriller without worlds at war, absurd car chases, psychological babble and CGI effects.

Michael Clayton could have been one of the big nights at the NYFF, but the timing was off. However, it was a hit at the Venice, Deauville American and Toronto International Film Festivals. It certainly has the chops to be a contender for Oscars and Golden Globes.

Clooney stars as a recovering alcoholic battling a gambling addiction who's a burnt-out fixer - and little more than a bag man - for a high-powered Manhattan law firm representing an industrial combine where the word ethics is never put on the table. He's great at solving the fiirm's problems, but not his own.

To realize further ambitions, he's gone into a side business with his brother that's failed miserably and he need big-time cash in a hurry. And he's divorced with a young son.

If he's not discontent enough, enter Oscar-nominee Tom Wilkson, as one of his most cherished friends who becomes one gigantic headache to keep under control. He's been the firm's promised son and ruthless litigator, but without his medication he takes manic depression to new levels.

In their own ways, Clooney and Wilkinson's characters, who haven't always done the right thing, decide to jump the fence and become heroes for the common good of mankind [well, sort of].

Oscar, Emmy and Golden Globe-nominee [and NYFilm Critics winner] Tom Wilkinson, though only in a third of the picture, steals it with his histrionics.

Gilroy, who also wrote the screenplay, is the son of 1965 Pulitzer Prize and Tony-winning playwright Frank Gilroy, who wrote the much-acclaimed The Subject Was Roses, which Jack Albertson, Irene Dailey and Martin Sheen, in his second Broadway outing after the very short-lived Never Live Over a Pretzel Factory.

Noted film director Sydney Pollack is one of the producers; Steven Soderbergh, Anthony Minghella and Clooney are among the exec producers. Pollack, who's been seen frequently in front of the camera, also co-stars with Tilda Swinton, Michael O'Keefe and Ken Howard.

The plot has holes [what thriller doesn't?]. Addressing a couple of them, especially in the scene in the apartment Clooney enters illegally and uncovers a certain book that has fascinated his son. When he picks it up [and you may also ask why, since the book is sitting under a lamp, he makes an about face to turn another lamp on to read it. (It's the angle for the close-up. Gotta get that best side)], he and you only a split second look at a tiny woodcut on a page.

Pay attention to that split second [it's like finally seeing the painting of a magnolia blossom on the wall in Magnolia and finally hearing Julie White in Little Dog Laughed babbling out the title in a manic monologue] and it will take a little of the mystery away from an event in the prologue flash forward - an even which gets repeated around "11:00." It won't fully explain what that book has to do with anything, but it helps to explain Clooney's whim, when speeding out of a country estate drive way on his way to nowhere along Upstate New York back roads, to pull over and get out of his car.

Clooney's part is not dialogue-heavy, but as photographed by Robert Elswit, his facial expressions, ticks and eyes speak volumes.

Tony and Drama Desk-winner Denis O'Hare is excellent as a millionaire trying to explain his way out of a hit and run accident. I won't say if you blink, you'll miss Tony winner and DD-nominee Julie White; but it may take a moment or three for you to realize that's Julie White. Hint: she plays a very irate woman. Oh, if she'd only had more to do.

I'm a big fan of James Newton Howard and I'm so happy he didn't over do the score. It's not the type of score you'll listen to again and again, but at the moment he kicks it in high gear -- when Clooney jumps in his car after a high-stakes poker game -- it's probably one of his most exciting and different score sequences ever.


New to DVD: Restored Funny Face

Fred Astaire and Audrey Hepburn light up the City of Lights in the 50th Anniversary DVD release of Funny Face [Paramount Home Entertainment; SRP $14], singing and dancing to such glorious Gershwin tunes as "S'wonderful," "How Long Has This Been Going On," "Let's Kiss and Make Up" and "What Am I Going to Do (Funny Face)." Direction is by M-G-M musicals veteran Stanley Donen [Singin' in the Rain, Seven Brides for Seven Brothers]. The producer is none other than another Metro musicals veteran, Garland sidekick Roger Edens. Choreography is by Astaire and Eugene Loring [mentored by Balanchine and Kirstein, later an ABT principal and the choreograper of Billy the Kid].

Though Astaire and Hepburn have star billing, it's the cinematography and art direction that set the film apart and puts it cinematically in the same league as An American in Paris. However, that film was shot entirely on sound stages. Funny Face was shot on location in Paris. The film received four Oscar nominations: cinematography [by Ray June], art direction, costume design and screenplay.

If ever there was a project perfect for the wide screen process VistaVision, Motion Picture High Fidelity, this was it. There's stunning scenery, stunning fashions and stunning Audrey Helpburn, who was a model in London before being cast in films which led to movie stardom in Roman Holiday [1953]. For years, Funny Face was available only in washed-out, flat prints. It's been painstakingly remastered to its exquisite original and wildly vivid Technicolor glory with the addition of surround sound.

The adaptation of George and Ira Gershwin and Paul Gerard Smith's witty and oozing-with-charm 1927 Broadway musical, which starred Astaire and his famed dancing partner sister Adele, is the sort of high-fashion Cinderella-like story of a fashion photographer [think Richard Avedon, who was the film's visual consultant and did the backgrounds for the opening credits ] and the search for a new face. That turns out to be a shy, drab Greenwich Village bookstore clerk; and, before you can say "Smile," he's whisked the wide-eyed waif to Paree and transforms her into fashionista's hottest model. Of course, Paree being Paree, can falling in love be far behind?

Even though Astaire was 30 years older than his leading lady, they have a wonderful, Pygmalionesque chemistry. Hepburn, though she often sounds dubbed when she's not talk-singing, unlike in My Fair Lady, actually does her own vocals. It was her dancing that concerned The Boss. She related many times that she was so scared on meeting him that she couldn't keep anything down. At their rehearsal, in spite of her ballet training, she tripped all over him and herself. Instead of giving up on her, Astaire kept her at it until - well, you'll see the results.

Of course, the original book and the majority of the Broadway score were thrown out and director Leonard Gershe wrote a sort of glorified travelogue and fashion show with songs and choregraphy thrown in. And high-fashion the movie is, with Hepburn's costumes by Givenchy and Astaire and company costumed by multi-Oscar-winning designer Edith Head.

Adding outstanding support and stealing every scene she's in is the delicious Kay Thompson [of Eloise fame, and with a rep for not being nicest person], who portrays Quality Magazine editor-in-chief [a sort of Diana Vreeland, or not-quite-a-devil wearing Dior]. Astaire didn't like being upstaged, so before he even arrives onscreen Thompson and her smoky voice raise the ante with the ultrastylish "Think Pink" sequence, written by Edens and Gershe. Also, featured is Michel Auclair, by 1957 already an acclaimed French film star who continued in major roles until his death in 1988.

Funny Face has highlights galore. It was one of the first American films allowed access to the Louvre; and the fashion shoot, with Winged Victory as a backdrop, is a dazzler as is the "He Loves and She Loves" sequence it segues into - with Hepburn in Givenchy bridal white and tulle veil and Astaire dancing in the almost fairy tale-like French countryside and onto a small raft that magically transports them across a rivulet [where they return for the fade-out, and float off into happiness ever after]. The five-minute plus love-letter "Bonjour, Paree" shot on the Left, Right and in-between Banks and covering every site from the Champs-Elysees, Arc de Triomphe and Rue de la Paix to Notre-Dame, Montmartre and Sacre-Coeur and finally up, up, up to the Eiffel Tower, must have quadrupled Parisian tourism. [Note in the montage sequences how Astaire is shot to appear taller than Hepburn and Thompson.] The hep-cat jazz ballet, with Hepburn a couple of times on pointe, in the Bohemian cellar bar is a standout.

Among the bonus features is The Designer and His Muse, which explores the collaborative relationship between Givenchy and Hepburn, who became his favorite subject.


Flat HD for the Movies

Wide screen processes were a dime-a-dozen - Cinerama, CinemaScope, Panavision, Todd-A-O - but Paramount Pictures was buying any of that. They decided to invent their own wide-screen process. The negative stock did have a bit of a wider ratio, but not as wide as, say, CinemaScope. In it's original concept, because it wasn't as wide, it "chop off" top to bottom as the wide screen systems did because of their ratio.

What made VV unique was that its film stock negative was high grain and yielded amazingly clarity. It was the first generation of high defintion film. Film was shot through the camera horizontally. In the lab, the film was matted to standard aspect ratio film and optically printed to be run through projectors vertically.

Unlike the wide screen processes, it didn't require projectors to be fitted with anamorphic lenss. When projected at the proper aspect ratio, it maintained a very sharp image onscreen.

Because of the processing expense, VV eventually lost out to the wide screen processes - not so much because those processes were better, but because high quality optical lens were created that insured greater clarity and deep focus. VistaVision, though no longer called that, it is still valued for it's high def quality in films heavy with special effects, such as the Star Wars series.

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